BWW Reviews: CHICAGO Delights at the Orpheum

You could feel the excitement rising as the crowd began to enter the theatre; the pull of liquor and jazz tugging them towards their seats as the opening night of Chicago at San Francisco's SHN was about to begin. Filled with songs that have become Broadway classics, such as 'All That Jazz', 'Razzle Dazzle', 'Cell Block Tango,' and really the list goes on, the revival is the winner of six 1997 Tony Awards, outperforming the 1976 original which received ten nominations but no wins. Celebrity murderesses, jazz, greed, lime light, and amazingly inspired Fosse style dancing - what could be better than a night of Chicago, playing now through November 16 at SHNSF's Orpheum Theatre.

Chicago tells the story of Velma Kelly (Terra C. MacLeod) and Roxie Hart (Bianca Marroquin), two vicious vixens who maliciously murdered their lovers and have landed in the big house for their crimes. They both vie for public attention and criminal stardom in order to be set free - not by the truth - but by a polished flim-flam, snake oil salesman of a defense attorney named Billy Flynn (the dapper John O'Hurley). Flynn twists the facts every way he can, concocting stories guaranteed to pull at the public's heartstrings (and the jury's) in order to set these murderesses free - for a price, of course.

Hodges & Hodges headed down to that whoopi spot known as the Orpheum theatre to immerse ourselves in that show of shows - Chicago.

Linda: At first glance I noticed that there was nobody in the orchestra pit and then I remembered that the revival has them on stage in a tiered, mock witness, or perhaps jury box.

Nick: Yes, they seemed to serve as judge, jury and witness all rolled into one.

Linda: That's right! It's always exciting to see where the orchestra will be situated on a stage and how they will interact with the cast, which they did - or at least the orchestra director (Robert Billig) did.

Nick: He was funny. Scenic designer John Lee Beatty did a wonderful setup for the orchestra, which really was the only scenic device in the whole show, other than some ladders.

Linda: I went in with an open mind about the starkness of the set, but it was too stark. I'm all for the audience filling in with their imagination, but the sparseness almost made it feel like we were watching separate musical acts held loosely together by a unifying theme. And no cell bars for the famous "Cell Block Tango?" Unforgivable.

Nick: Terra C. MacLeod, who originated the role of Velma in Montreal and Paris, was a real character! Her voice and body movements were unique and energizing. She also had great comedic timing. As the familiar strains of Kander and Ebb's opening number, "All That Jazz," began she came out strong and was a force to be reckoned with.

Linda: The song is so well-known and loved that it carries a lot of emotional heft, but MacLeod sold it. She had us at "Come on, babe."

Nick: Bianca Marroquin who's a huge, south of the Border star - and no slouch here either - was really something as Roxie. In the slammer and desperate to be exonerated for a crime she did commit, she was her own worst enemy whenever she didn't heed Flynn's advice. Marroquin's Roxie was perfectly mercurial - strong and defiant in one moment, scared and vulnerable in the next. When Hunyak (Aurore Joly), a woman on death row who insists that she's innocent is hanged, Roxie's fear is palpable, moving and sincere.

Linda: Marroquin shone as Roxie especially in "We Both Reached for the Gun." She's sitting on Flynn's knee, a puppet in his hands. Her body is fluid and flexible, yet gives the distinct impression of being wooden. That was a great number and she was the reason it was.

Nick: John O'Hurley was wonderful to watch too. He is funny and talented and performed Billy Flynn brilliantly. His facial expressions were spot on.

Linda: But I have one question for you.

Nick: What?

Linda: If he won Dancing with the Stars, then why didn't he dance in any part of the show?

Nick: That's right! That is strange indeed. He even mentions that he won in the front page of the Playbill. I wonder why choreographer Ann Reinking didn't put that talent to use.

Linda: We'll have to try and interview her.

Nick: I am a little torn on Reinking's choreography to be honest. The Bob Fosse style of dance was impeccable! It was done to perfection in every way and was amazing.

Linda: Then what are you torn on? It was signature Fosse, suggestive hip rolls, detailed and defined muscle movement - jazz hands for Pete's sake. In fact, "Hot Honey Rag" used his original choreography.

Nick: Definitely Fosse, but Reinking didn't use the dance king's style to build momentum during any given number. It stayed mostly small, slow, and minimalist and therefore flat. There was never any real build-up of the dance - no climatic dance number.

Linda: I have to agree. I found myself wanting more.

Nick: I also didn't feel too much connection with the costumes. I think William Ivey Long dropped the costume ball here, though the Tony Awards gave him a nod with a nomination. We all know the classic black fishnets, leggings, and slicked back hair, but there were almost no costume changes. Not even during Razzle Dazzle!" Where was the razzle? Where was the dazzle?

Linda: The black costuming, devoid of any color whatsoever, was monotonous.

Nick: And Mama Morton's pantsuit didn't really fit in with the show. It was plain and boring and didn't add anything to Roz Ryan's spectacular voice. Ryan's powerhouse vocals saved that part when dull costumes and lack of chorography tried to pull her down. But she prevailed and did an amazing job.

Linda: Ryan was certainly a highlight. But the choreography that normally helps to define the role was sorely missing.

Nick: I did truly love the music. Musical Conductor Robert Billig did an amazing job. The brass hit the spot just right and really helped make the show great.

Linda: That was the razzle and the dazzle. Kander and Ebb's catchy tunes and lyrics were nothing short of divine and filled in for the lack of set and costume changes.

Nick: All in all I think that it is a show worth seeing. Whether you are in love the music, the style, or are seeing it for the first time, Chicago is one that you shouldn't miss.

Chicago the Musical
Book by Fred Ebb and Bob Fosse
Music by John Kander
Lyrics by Fred Ebb
Directed by Walter Bobbie
Now through Nov 16, 2014
Photos courtesy of

To post a comment, you must register and login.